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  • 1. Editorial The whole notion of museums hasTHIS PUBLICATION HAS BEEN PRODUCED WITH THE ASSISTANCE OF THE EUROPEAN UNION. THE CONTENTS OF THIS PUBLICATION ARE THE SOLE RESPONSIBILITY OF THE RMSU AND CAN IN NO WAY BE TAKEN TO REFLECT THE VIEWS OF THE EUROPEAN UNION changed dramatically in the last two decades, particularly as a result of the introduction and continuing acceleration of information technology, which has transposed museums from their traditional ponderous models to digitised images and ‘virtual museums’. Whether a communal space of interaction or an archival space, museums face a huge challenge in Mediterranean Partner countries and the awareness of their value for identity building and promoting a nation’s history has only recently come to the notice of authorities and various actors in cultural heritage. Moreover, their value as spaces for education and social Aga Khan Museum collection, Sabanci Museum exhibition with MANUMED, Istanbul, Turkey integration has captured the attention of the very few, and the notion that they have a public duty to make FOOD FOR THOUGHT provision to all parts of society – all ages, social, cultural and educational City Museums of the Future backgrounds – is yet to be integrated to By ChriSTiAne DABDOUB nASSer , TeAM LeADer, reGiOnAL MOniTOrinG AnD SUPPOrT UniT (rMSU) the cultural agenda of partner countries. Who would have ever thought that a museum about a city can make its development? Euromed Heritage is not specialised in And yet, it is the latest buzzword among museologists, anthropologists, planners and the development of museums per se. professionals interested in the well-being of cities and the future of museums. From the perspective of our programme, museums are but one Museums have been presenting urban development and growth but have never been form of ‘representing’ the past and part of the process of determining the nature of this development. Based on the fact that ‘presenting’ it to the public. Within the museums are assuming new roles and developing new ways of working with new limited scope of our newsletter, we are opportunities, duties and responsibilities, it is assumed that they can have an impact on presenting a few examples that should the planning of cities by acting as a source of knowledge to influence development and throw light on the complexity and by participating in development urban planning processes. To that effect, a conference challenges of keeping museums afloat, and the transformations they undergo sponsored by the Committee for the Collections and Activities of Museums of Cities in the wake of new technologies. (CAMOC) was held in Vienna in 2007 under the title City museums and city development; the core of the debate was articulated by the conference keynote speaker, Professor Christiane Dabdoub Nasser Georges Prévélakis (Université Pantheon-Sorbonne and an associate of the Museum of Team Leader, Regional Monitoring the City of Athens) who stated that «the role of city museums is closely related to the and Support Unit (RMSU) dynamics of the partitioning of geographical space, which occurs on various levels and which is both physical and mental.» FOOD FOR THOUGHT 1 EUROMED HERITAGE 4 NEWS 2 Several writers have stressed the role of museums in city planning ever since, but as yet there are no examples of a museum having influenced the shaping of a city I OUR FEATURE OF CHOICE 5 A TALK WITH... 6 A PERSPECTIVE ON CULTURAL HERITAGE 10 BEST PICTURES 11 MISCELLANEOUS 12 RMSU Euromed Heritage 4 Programme rue d’Egmont, 15 B-1000 Brussels t. +32 (0)2 609 55 50 - f. +32 (0)2 511 63 11 info@euromedheritage.net http://www.euromedheritage.net
  • 2. CONNECTING - ISSUE N°7 - MARCH 2011 EUROMED HERITAGE 4 NEWS REGARDS CROISÉS, BARCELONE, SPAIN - M. VILLAVERDE 2011 SIWA, TANGIER - 2010 MONTADA, FORUM, - L. DIPASQUALE 2010RMSU’S activitieS eH 4 projects activities will provide the girls with the necessary skills of handling the silver according to traditional motifsYoung photographers strongly committed to the the training of children and women to traditional and spirit. Approximately 34 ladies will participaterevitalisation of Mediterranean cultural heritage: skills and handicrafts, an action for the economic in the workshop related on the production ofheritage competition photos on show at Barcelona development of Siwa and tangiers (December embroidered clothes, approximately 15 ladies in theexhibition (from 15 to 28 February 2011) 2010-Mai 2011) training on the production of pottery, and 2 ladies in the training on the production of silver jewellery.nour el refai, a 27-years-old egyptian The «Siwa & Tangier: cultural heritage for a better The trainers will be a resident foreign privatephotographer and architect, is the winner of the life» project develops several activities aiming at producer and a local professional tailor, and a local2010 edition of «Crossing viewpoints: living safeguarding and promoting the traditional skills artist/professor of the Faculty of Fine Arts Iheritage in the Mediterranean» international and handicrafts in Tangiers (Morocco) and SiwaPhotography Award organised by the euromed (egypt). in these two towns, the activities related For more information about «Siwa & Tangier, aheritage programme and rehabimed Association. to handicraft could represent an important drive cultural heritage for a better life»: http://www.euromedheritage.net/intern.cfm?menuID=12&submenuID=13&idproject=47This competition revealed the value of cultural of economic and touristic development havingheritage for the youth, especially in the positive impacts on local populations. To this aim,Mediterranean countries: the Jury received 516 the project is organizing various awareness and citizen participation in the revitalization ofpictures in total and 57% of the 327 participants training activities related to handicraft techniques traditional architecture in Morocco: participatoryare originally from the Mediterranean partner’s addressed, more in particular, to groups of forum in Marrakech (February 4, 2011)countries and 13 out 30 finalist’s pictures of children and women.participant’s were from countries of the South of tangiers: training workshop on « zellige » Since 2009 the Montada project focuses on thethe Mediterranean. The Jury gave a special (December 2010-Mai 2011) formation of advisory forums called «The City.mention to eyad Jadallah, a 26 years old The «zellige» is the traditional clay studded tile Living heritage» in the six cities in MaghrebPalestinian free lancer photo-journalist, Gianluca used since the 10th century to embellish the covered by the project: Dellys and Ghardaia, inCapri (italy), Augustin Le Gall (France), and houses and buildings in the Maghreb region. it Algeria, Salé and Marrakech, in Morocco, KairouanFrédéric Seguran (France). «These photos also represents one of the typical elements of the and Sousse, in Tunisia. These forums, made bymarvellously highlight the place that cultural region’s architecture. Between December 2010 members and associations of civil society,heritage holds in Mediterranean contemporary and Mai 2011, approximately 12 pupils between including local and national policy makers,societies, as well as the existing connections the ages of 14 and 18 will be introduced to the heritage professionals, teachers in urban planningbetween tradition and modernity, and the production techniques of panels, to the styles and and tourism management and those coming fromachieved integration between local and outside composition, and the classification of working the education sector, trainers for the profession increative influences» said Architect C. Graz, tools. The training workshop will be organized craft and restoration etc., meet regularly in ordermember of the Jury Committee. The official under the supervision of Mr. Abdel Aziz el idrissi, to stimulate the public debate, ensuring theinauguration of the exhibition «Crossing Director of the Museum of the Kasbah of Tangiers, relevance and sustainability of actions undertakenviewpoints: living heritage in the Mediterranean», and held by Mr. Salimi Brahim, Deputy Director of under the project for the revitalization of thewill be held in Barcelona, on 15 February 2011, at the Museum of the Kasbah of Tangiers – theory traditional architecture of the six cities as well as«hospital de Sant Pau i la Santa Creu», a courses – and Mr. Maalem Lahcen Akil Frij – the follow-up of the actions. The meeting inmasterpiece of Art nouveau architecture inscribed practical courses. The 250 hours of the workshop Marrakesh, designed in a workshop format into UneSCO Cultural heritage List. The exhibition will be organised 3 times at week at the Kasbah order to enrich and develop the processes ofwill be open until 28 February 2011 I Museum. analysis, reflection and collective decisions about the heritage and the architecture of the city,An overview of the exhibition, as well as the Siwa: training workshops on embroidered clothes, brought together all local players to enable thepractical information, is available at this link:http://www.euromedheritage.net/intern.cfm?menuID=16&submenuID=23&subsubmenuID=16 pottery and silver jewellery (Dec. 2010 – Mai 2011) sharing of realities and issues, set priority needs Some trainings focusing on embroidered clothes, and bring out constructive proposals in the context pottery and silver jewellery will be organised of the opportunities offered by the Montada between December 2010 and Mai 2011 in order to project. «The specific objective of this meeting was enhance the skills of female handicrafts producers to set the two main themes that will underpin the in the Siwa Oasis - Siwa town and the neighbouring development of the action program to develop in villages. For the production of clothes, the training Marrakech. The goal is to foster a space for will focus on the general design using traditional discussion and exchange, which allows all motifs; the pottery training will cover all stages of participants to express their ideas and opinions», production of objects that are usable in daily life. says Montserrat Casado, project coordinator. On The training on the production of silver jewellery the same occasion, the teaching tool developed
  • 3. CONNECTING - ISSUE N°7 - MARCH 2011 ELAICH, TIBERIAS, ISRAEL - 2010 ELAICH, HAIFA, ISRAEL - 2010 MONTADA, ATELIER DELLYS, ALGERIA - 2010under the project Montada was presented to the a new online game for children aged between 6 background.The festival, implemented by a wideteachers of the centres involved in the project in and 11 to explore the traditional architecture of variety of organisations having long experience inMarrakech and Salé I the Maghreb working with the youth and cultural heritage - Beirut national Museum, «Association pour la ProtectionFor more information about MOnTADA project: The project MOnTADA is currently developing des Sites et Anciennes Demeures au Liban» (APSAD),http://www.montada-forum.net/fr/montada/montada.htm online games that allow children from 6 to 11 najdeh Association, Amel Association, Union of Arab years old to discover the basic principles of a iCT Associations - ijma3 -, was the opportunity toDiscover the charm of traditional architecture in traditional architecture while developing their show cultural heritage expressions includingthe Maghreb: creativity. A first game, created in november 2010, traditional dance, food, clothes, music, handy crafts,http://www.montada-forum.net/fr/videos_fr consists of placing furniture, architectural etc. and organise a drawing competition and visits elements and characters in a traditional courtyard to the national Museum addressed toeducating high school students in cultural in the town of Ghardaia. The new game that has approximately 600-800 youth Iheritage protection: eLaicH project cultural been designed allows children to exploreheritage pilot course geometric elements and ornaments in the homes Foundations for a strong future at a glance: http://www.euromedheritage.net/intern.cfm?menuID=12&submenuID=13&idproject=45 of Salé and Marrakech, in Morocco. in addition, aFrom October to December 2010, the elaich series of postcards, associated with the games, are Foundations for a strong future website:project organised a pilot course in collaboration available online and the workshops, where http://www.asassat.comwith the hebrew reali School of haifa in order to children learn the basic principles of traditionaltest the educational Approach in cultural heritage architecture through crafts and games, can bedeveloped by the project. 15 students printed and sent. «The goal of all these activities traditional architecture and young people:experienced fascinating lectures given by experts is to arouse children’s interest in traditional workshops in Salé and Marrakeshin the field of cultural heritage from five highly- architecture, developing their knowledge in a funrated universities who used interactive methods and interactive way», says Montserrat Villaverde The MOnTADA project aims at the conservationof teaching. The lectures focused on important from the Montada project I and revitalisation of the traditional architecture inaspects of cultural heritage such as preventive Algeria, Morocco and Tunisia through the activeconservation; air pollution and its consequences To play online: involvement of the local communities. An- with a particular attention given to the case of http://www.montada-forum.net/fr/ville-du-patrimone-vivant/ville-du-patrimone-vivant.htm important part of the project’s activities arehaifa; properties and deterioration of historic particularly conceived and addressed to children, To download the postcards:building materials; conservation processes; http://www.montada-forum.net/fr/activites/activites.htm young people, schools and actors of the educationearthquake protection of monuments; history and sector – teachers, trainers, etc. A workshoparchaeology. Students also ran lab experiments focusing on the colours and decoration techniquesand went through a few site exercises, focusing a three-day festival of traditional music, dance, adopted in the traditional houses in Morocco wason the study of selected built heritage sites, food, clothing, handicraft to raise awareness of organised on December, 4, in Salé, and anotherincluding documentation and those investigations cultural heritage in Lebanon workshop on the same subject on December, 6, inrequired to ensure the preservation of historical Marrakesh. These workshops, addressed to youngsites. Site visits were made possible with the The Foundations for a strong future project people between 7 and 13, aimed to contributeassistance of the israel Antiquity Authority and organised a cultural heritage festival in Beirut from integrate the theme of traditional architecture intothe Society for Preservation of israel heritage 17 to 19 December 2010, at the Tournesol theatre, the pedagogical tools adopted in the schoolsSites. A closing event was held on January 25, Tayyouneh, close to the Beirut national Museum, during the normal and extracurricular activities.2011 at the Technion - israel institute of one of the project’s partners. The festival aimed at During the workshops, the young people workedTechnology campus in haifa, in order to present increasing local population awareness of their on finishing touches techniques – zellige, plaster,the results of the Pilot Course, the eLAiCh national heritage and facilitating the cultural cabinet-making, etc. – and discovered the mainmethodology, and the projects developed by exchange between the Lebanese, Jordanian and principles of the traditional architecture whilestudents during the course. Conservation experts Palestinian. The event paid particular attention to developing their creativity Ifrom the Technion, national Technical University the involvement of children, young peoples, andof Athens, University of Antwerp, Ca’Foscari students from schools and universities, whichUniversity of Venice, and the University of Malta constitute the project’s main target group. in «Building and implementing a protection plan forparticipated in this event I addition, the underlying aim of the festival is to build audiovisual archives»: a training part of the project bridges of communication between communities Med-Mem for the preservation and enhancementMore information about eLAiCh: divided by conflict, and allow access across the of the Mediterranean’s audiovisual heritagehttp://www.euromedheritage.net/intern.cfm?lng=en&menuID=12&submenuID=13&idproject=37 division lines, increasing knowledge of the “other” by focusing on the very things that are common such in the Med-Mem project the safeguarding ofeLAiCh website: www.elaich.technion.ac.il as traditions, language, music and cultural audiovisual archives constitute a major issue. To
  • 4. CONNECTING - ISSUE N°7 - MARCH 2011 MONTADA, ATELIER, SALE, MOROCCO - 2010 MED-MEM FORMATION ALEXANDRIE - M. SANSON 2010 MEDLIHER, CAIRO, EGYPT - NOV 2010this end, the project focuses on training partners - UneSCO, «Maison des cultures duprofessionals - librarians, heads of archives, etc. – Monde» Association and the concerned ministries Latest publicationsissued from the broadcaster sector on in egypt, Jordan, Lebanon and Syria - was heldsafeguarding, management and development from 28 to 30 november in Cairo, in order to Workshops’ proceedings andtechniques of audiovisual documents in the debate the situation of intangible cultural heritage recommendations now availablearchives of Mediterranean televisions, partners of in Jordan, Lebanon, Syria and egypt, and discuss heritage economics and financing mechanismsthe project. This training, held from 30 november the conclusions of the respective national (Damascus, 6-8 June 2010) http://www.euromedheritage.net/intern.cfm?menuID=8&submenuID=26&subsubmenuID=19to 2 December 2010 in Alexandria, is the third assessments of existing programmes, experiences Management of heritage sites and artefactsafter those on digitization and indexing organized and structures in the field of safeguarding (Petra, 17-19 Mai 2010)in 2009. Beyond sharing of experiences between intangible cultural heritage carried out during the http://www.euromedheritage.net/intern.cfm?menuID=16&submenuID=20&subsubmenuID=20broadcasters in the Mediterranean, the training project’s first phase. The event served as a basis Preventive conservation and maintenancefocused on defining a methodology approach and to select targeted national and multinational (Ghardaïa, 23-25 november 2009)on proposing a number of organizational and projects to be implemented during the third phase http://www.euromedheritage.net/intern.cfm?menuID=16&submenuID=20&subsubmenuID=13technical guidelines - inventories and definition of of the project, in 2011.The five projects are: euromed heritage time-sheets on tourism,the volume of audiovisual funds; mapping content . egypt: «inventory of the nile river intangible museums, handicrafts and traditional skillsand physical state of the audiovisual funds; cultural heritage». Tourism development: a cultural heritageassessment of the means and strengths available, . Jordan: «Launching inventory of iCh at the perspectivetechnical solutions... - for the implementation of national level». Museums: real and virtual spacessafeguarding strategies for the digitization of . Lebanon: «Launching inventory of iCh, with The mirror of cultural identity: handicraftsarchives. The results of this training will contribute focus on Oral tradition (Zajal tradition)». and traditional skillsto feeding part of the content of a manual on the . Syria: «Launching inventory of iCh at the http://www.euromedheritage.net/intern.cfm?menuID=9&submenuID=32safeguarding of audiovisual archives, which will be national level, with a focus on performing arts».available at the beginning of the 2012 and will . regional project (including all partners):constitute a reference in the field. This manual will «Documentary film of the regional iCh». Latest features, publications and videosbe available online on the Med-Mem website, aplatform of more than 4000 videos about in addition, all partners have also agreed to start heritage Awareness - 1sth volume issuedcountries surrounding the Mediterranean basin, the elaboration of nomination files to the Lists of from Mutual heritage project trainingwhich provides evidence of exceptional historical the Convention I coursesheritage of the region. This will be made available http://www.mutualheritage.net/fichiers/Fascicule1-texte-integral.pdfto the public in late 2011 I More information about MeDLiher: A voyage through the traditional architectureMed-Mem promotion clip: http://www.euromedheritage.net/intern.cfm?menuID=12&submenuID=13&idproject=50 in Algeria, Morocco, and Tunisia – videos byhttp://www.ina.fr/playlist/art-et-culture/bandes-annonce-medmem.297775.fr.html MOnTADA project MeDLiher website: http://www.montada-forum.net/fr/videos_frMore information about Mem-Mem: http://www.unesco.org/culture/ich/medliher/http://www.euromedheritage.net/intern.cfm?menuID=12&submenuID=13&idproject=42 radio reportages on line of «Manumed 2-of manuscripts and men» project http://data.manumed.org/fre/notices/88508-Emmissions-de-radio-du-projet-Manumed.htmlinventorying the intangible cultural heritage inegypt, Jordan, Lebanon and Syria MOnTADA promotes heritage value of Kairouan - by Moncef Mahroug (a enPi infoThe «Mediterranean Living heritage» project Centre feature) http://www.enpi-info.eu/files/features/a107047%20ENPI%20Montada%20Tunis%20%28en%29.v.4.pdf(MeDLiher) aims at safeguarding the intangiblecultural heritage in the Mediterranean regionthrough facilitating the effective participation offour countries - egypt, Jordan, Lebanon, and Syria -in the mechanisms established by the UneSCOConvention for the Safeguarding of the intangibleCultural heritage 2003. Specifically addressed tothe partner countries’ governmental communitiesand institutions, MeDLiher also contributes to thereinforcement of governmental institutions’capacities. An evaluation meeting bringing Join our mailing-list and receivetogether high representatives of all project euromed Heritage 4 connecting http://www.euromedheritage.net
  • 5. OUR FEATURE OF CHOICE RÉSEAU ART NOUVEAU NETWORK - SERGE BRISONHorta Museum, heavily modified by its transformation into a middle- class house, is purchased. As the years go by, the offers, partly by ignorance, a competitive price. For example, it was by pure chance that we encountereda jewel of the art museum receives more and more visitors: about 65,000 to date. A visit to the horta museum has a master of French origin who was able to repair the column radiator designed by horta, one of his mostNouveau architecture became an almost obligatory stop for tourists coming to Brussels. notable inventions. For over fifty years, all heating specialists had declared that it was impossible toBy FrAnçOiSe AUBry, CUrATOr OF The hOrTA MUSeUM make it work again. in the late eighties, a new and more scientific it’s sometimes disarming or ridiculous to have toThe horta Museum was opened in 1969. it consists of restoration seemed necessary. The museum budget engage in battles to preserve the mailbox designedtwo adjacent buildings that used to be the house and is tight, but the President of the Board of Directors, by horta (which does not meet the standards set bythe studio of architect Victor horta (1861-1947), and Martine Wille, decides in 1989 to fund a «master the Post Office), or the original blue stone pavementthat were bought separately (the house in 1961 and plan» designed by architect Barbara Van der Wee. (since the administration replaces them with cementthe studio ten years later). it was on the insistence of The meeting with the patrons who found that the tiles), or to prevent the attachment of cables on thea former student of Victor horta, the architect Jean museum had a plan ready to run sparked the facades…Delhaye, that the municipality of Saint-Gilles acquired restoration process that ends in 2010. The idea was restoring to a house-museum its original distributionthe house at a time when Art nouveau architecture to go back as far as possible to the original state of raises the question of the necessity of creatingwas still largely discredited. in 1950, Jean Delhaye the house while taking into account the high number premises for the staff. These are now located on thehad helplessly witnessed the destruction of one of of visitors. it has been necessary for example to 2nd floor of the studio and in small service rooms ofthe most beautiful hôtels de maître («period strengthen the main staircase, which was weakening the house; there is a lack of storage space forhouses») of horta, the Aubecq hotel (avenue Louise under the weight of visitors, with a wooden structure paperwork and archiving from the start. Fortunately,520), which was replaced by an apartment building. that had to be inconspicuous. The number of visitors the museum will soon expand into a nearby househe also fought in vain to prevent the destruction of had to be limited, and they were asked not to linger and will host the offices, a library, the archives, anthe Maison du People in 1965, a major in groups in the stairwell. The murals suffer a lot of exhibition hall, a cloakroom and a cafeteria. Allaccomplishment of european Art nouveau and which friction: fortunately the fine gilded motifs run at a functions relative to the historical monument thenwas of particular importance in the political history of height and are not affected by the passage of visitors. will find a proper place. The acquisition of a thirdBelgium because it symbolised the accession of the On the other hand, the glaze of metal rods building has proved absolutely necessary to relieveParti Ouvrier belge (Belgian Workers’ Party) to the highlighted in gold leaf disappear at hand level. The the pressure of its management on the monument.parliament, in 1894. delicate volute of the banister of the mahogany The installation of a locker room and cafeteria willThe house and studio of Victor horta will be the first staircase is damaged by the repeated passage of allow visitors to wait more comfortably. in winter,Art nouveau building protected by royal Decree in hands, often with ringed fingers. it is possible to ask when cold weather comes, sometimes they are1963. visitors to leave bags and coats behind but it is forced to form a long queue outside. difficult to prohibit touching the banister. When itit was Jean Delhaye who «thought out» the comes to people leaving their effects in the locker The registration of four horta buildings including theadaptation from residence to its new role as room, frustrated negotiations in many languages Museum on the World heritage list in 2000 is amuseum: installation of a reception and a lift in the between the people working in the locker rooms and wonderful token of appreciation, but an old privateback stairs, transformation of the first floor into the visitors occur. it is striking how the visitor is house can hardly become the Mecca of worldoffices rented to the Order of Architects, construction unaware of the fragility of a monument. They find cultural tourism. As mentioned earlier, the number ofof a library and a reading room in the old bathroom hard to understand that they can’t sit on the seats or visitors cannot grow indefinitely and must findand guest bedroom on the second floor, and a manipulate the sliding doors and drawers. But it is alternative ways to discover the architecture ofpermanent exhibition of photographs of architecture the proliferation of these anodyne gestures that are horta. That will be easier after 2017, when the rightsin the bedroom and in the boudoir of horta’s devastating. We also face the contradictory desire of of the architect will fall into the public domain. indaughter. he adds a «modern» lighting system in the visitor to imagine being horta’s host and wanting 1996, when the first major horta retrospective tookmany places (neon spots), replaces the worn and clear and legible instructions in their mother tongue place at the Palais des Beaux-Arts in Brussels, thejagged wall covering with very resistant vinyl paper, on all objects. There is constant tension between a heirs of the architect have suddenly ceded theand installs new steel radiators. remarkably, Jean house that we would like to be welcoming and open management of their rights to SOFAM. Any use ofDelhaye is careful to preserve the reception rooms and the need to protect the monument, especially the images of his works is subject to royaltyand the main staircase, but shows no respect for since the income of the museum is largely generated payments, which limits the production of films,private and service areas. To make room for an by the admission fees and profits from the shop DVDs, websites... We are often confronted by theexhibition of horta photographs, he takes away all maintained by volunteers in turn. The organizstion press and publishers, who cannot understand thatthe original built-in furniture in pitch-pine. elements Les amis du musée Horta is in charge for organising we cannot provide images of the museum free ofthat had survived the passage of two private owners the volunteer work. The existence of such an rights. For example, during campaigns for the(horta house and studio were sold separately in organisation also allows the museum (that does not promotion of the Art nouveau in Brussels, horta’s1919) also disappear. As horta had taken his have an acquisition budget) to buy items that works are underrepresented and do not occupyfurniture, Jean Delhaye tries to buy some furniture belonged to horta. their rightful place.that had belonged to the architect. These, stillrelatively cheap, are rare because the architect could As a museum-house of an architect, the building it seems unnecessary to describe the occupations ofonly conceive furniture based on a particular house. itself is a work of art, which means that all a curator of a museum like the horta Museum. TheySo the museum is equipped with furniture that is maintenance and restoration work must be executed are those of all small museums where the managerauthentic but not always suitable, like the huge by skilled artisans: a plumber, a heating specialist or a must be versatile. The most unusual part is perhapsbedroom that comes from a country-side house. John carpenter must be careful and work with great in building maintenance and tracking very closely theand renee Delhaye constitute a foundation with their dexterity. The address book for the maintenance of restoration, which brought another dimension to myown collection of furniture and archives concerning such a building is valuable but may be incompatible early training as a historian of art. i learned a lothorta, collected from his widow and given to the with the procurement requirements imposed by the about architecture, following the restoration work ofhorta Museum. Thanks to them, the museum is not government. When an electrician, for instance, Barbara Van der Wee and my vision of the work ofonly an historical house open to the public but a knows all the twists and quirks of an old installation horta is all the more enriched Iplace of study that assembels archives, a and masters them, he will be more effective than onephotographic library and a library. in 1971, the studio, who has only practiced modern installations but Museum website: www.hortamuseum.be
  • 6. CONNECTING - ISSUE N°7 - MARCH 2011 A TALK WITH… Dr. Ziad Al-Saad, Director General of Antiquities and Project Manager of Athena BOSRA, SYRIA - C. GRAZ 2010 PETRA, JORDAN - C. GRAZ 2010Athena project aims to support the revitalisation of ancient theatres as a part of a widerarchaeological site or urban context, and to establish an overall strategy for dealing with theirtangible and intangible heritage aspects. This revitalisation addresses theatres in terms of physical,cultural and socio-economic aspects by endorsing proper management plans.Jordan has a rich archaeological heritage: what made you decide recovery of memories and knowledge of a shared history.on choosing ancient theatres for your project athena?Jordan contains a considerable number of the ancient theatres of What is the physical state of ancient theatres and where do theythe Greek, nabatean and roman worlds. These theatres are key stand in terms of conservation?elements of ancient cities of Jordan like Amman, Petra, Gerasa(Jerash) and Gadara (Umm Qaies) from an architectural and Although ancient theatres of Jordan in general are still in a goodfunctional viewpoints. These theatres are possibly the most conservation condition, these irreplaceable cultural assets havefascinating man-made structures that were once used for sustained a great deal of damage and destruction due to thetheatrical performances, music shows, as well for more sinister action of nature and human. natural disasters, pollution, andpurposes such as violent wild animal shows and gladiatorial improper use have all continuously enhanced the damage to thiscontests. These awesome theatres have a historical stigma invaluable cultural heritage and point all the more urgently to theattached to them, and in some cases, history is still being made need for an effective policy of planning for conservation based onbecause some are still being used today. prevention and mitigation of the vulnerabilities and danger factors.it’s hard to believe that some of these theatres are close to 3,000years old, and it’s amazing that they’re even still standing. Theamount of engineering knowledge that our ancient ancestors had in your view, how does Jordan compare with other countriesdeveloped is just as mesmerizing especially when some of these around the Mediterranean basin in terms of up-keeping itsauditoria rival present-day outdoor theatres in terms of acoustic archaeological sites and archaeological artefacts?properties. The conservation of the vast cultural heritage of Jordan is anThrough the arts, the conservation and protection of these enormous challenge. The field of archaeology in Jordan is wellstructures, as well as their continued use as places of institutionalized. in contrast, the field of conservation has onlyperformance, facilitates the meeting of multiple cultures and the been recently introduced to the country, and it is still not fully
  • 7. CONNECTING - ISSUE N°7 - MARCH 2011recognized or appreciated. The professional occupation of in your opinion, are festivals – for example the Jerash Festival-«conservator/restorer» in Jordan (as in many other countries) is organised in a satisfactory manner and in respect for the ancientnot clearly defined and/ or protected by law. This means that sites in which they occur?whoever claims to be a «conservator/ restorer» (e.g. craftsman,artist, archaeologist etc.) regardless of the extent and depth of his Jerash Festival of Culture and Arts, since it’s one of oldest festivalstraining can and in fact is carrying out conservation and in the region and so well known worldwide, and it helped a lot inrestoration work. showing the reality of Jordan and Jordanians as civilized, educatedThe primary challenges, therefore, are related to the following issues: and life loving people. Sadly the Jerash Festival has to be cancelled. The pressure of tourism is mounting; due to the pressure of various groups who strongly argued against. The sheer large volume of cultural sites that overloads the the festival due to its negative impact on the site. i believe that currently available capacity; the irresponsible set up of the festival and the insensitivity toward. The cost of mitigating the threats to cultural sites is rising; the fragility of the ancient theatres has a huge negative impact on. The training of professional conservations/restorers is just the ruins of Jerash. This led to the mandatory cancellation of this beginning; important cultural event.. The concept of cultural resources management is still not widely accepted or appreciated;. The absence of a well defined set of policies of cultural resources are you addressing this specific issue –adaptive re-use– in the management. athena Project? What will be the benefits of this project to ancient theatres?The Department of Antiquities of Jordan is currently undergoingmajor structural reforms and conservation of cultural heritage is Compatible utilization of ancient theatres is a major researchgiven the highest priority. efforts to build capacity in conservation component of the Athena. The project articulates a clearand management of cultural heritage are underway at a high pace. methodology to formulate clear guidelines for compatibleA process of integrated heritage management is being utilization of ancient that is based on maintaining the delicateimplemented. This process aims at combining and balancing: balance between protection and utilization. This will be achieved. Protection; by the development of a management plan for ancient theatres. Conservation; taking into consideration the socio?economic reality of its location. Presentation and promotion; and a manual of guidelines for the proper use of ancient theatres,. Various dimensions of heritage as they relate to the same site including tourism. in a addition a handbook on standards and or artefact (tangible and intangible); procedures in the management of ancient theatres I. The management of adapted tourism;. The relation of the site with its surrounding economy and communities; TIPASA, ALGERIA - C. GRAZ 2011. improved socioeconomic conditions of communities; and. respect for the values of diversity and cultural identities.Would you say that the Jordanian public is aware of its richheritage? How are you addressing this issue through the athenaproject?Although appreciation of the value and significance of culturalheritage among certain categories of Jordanian citizens hassignificantly improved in the past few years, we still face a greatdeal of lack of public awareness of the significance of culturalheritage. This results in widespread illegal digging activities andillicit trafficking of artefacts on a large scale. The Department ofAntiquities is organizing a collaborative effort of organizations andgovernment agencies, utilizing all forms of media to present aclear and simple message to the public about the importance ofprotecting cultural heritage. By encouraging educational programswithin schools, as well as in the tourism industry and businesses,awareness will breed more observant behavior and treatment ofreef ecosystems. Athena project includes a well-planneddissemination and public awareness activities. These activities willbe utilized to spread an effective message to various target groupson the project concept, methods and results and how this projectwill lead to protection and compatible utilization of ancienttheaters of Jordan.
  • 8. CONNECTING - ISSUE N°7 - MARCH 2011 A TALK WITH… Anne-Marie Afeiche, Curator of Beirut National Museum PIANO DEVANT LE MUSEE NATIONAL LE 20 MAI 2010 - JOURNEE DU PATRIMOINE ANNE MARIE AFEICHE DEVANT UNE MOSAIQUE EN COURS DE RESTAURATIONThe national Museum of Beirut takes on board the challenge of social integration...Briefly, how and when was founded the National Museum of Beirut? What problem remains the lack of available spaces.relations does it have with the authorities?The national Museum of Beirut comes under the Directorate General of Do you organise educational programmes? What’s your position and yourAntiquities, itself within the Ministry of Culture. it was built between 1930 connections at the local level?and 1937 and contains the antiquities collected in Lebanon since the 20’s. For several years, a programme related to school visits has been establishedSince then, and until 1975, the national collection has increased, especially in order to enable a growing number of school children to visit the museumafter the archaeological excavations throughout the country. Sites inhabited and discover the historical and archaeological heritage of the country. Wesince the earliest times (Byblos, Beirut, Sidon, Tyre, Baalbek, to name only a have regular contacts with government and private schools, from all regionsfew) have yielded pieces of great importance, now exhibited at the national of Lebanon: the museum is now part of the curricula of many institutions,Museum. year after year.Where do the funds for its upkeep come from? What is your role in the project «Foundations for a strong Future»? HaveThe budget of the national Museum comes from the ministry to which it is there been other experiments with euromed Heritage?affiliated. The Directorate General of Antiquities between 2003 and 2005 participatedhowever, since 1996, aids from organisations have supported the museum, in a project called «Corpus Levant» (euromed heritage i) on rehabilitationespecially the ones from the Lebanese British Friends of the National Museum, techniques of traditional architecture in Lebanon. Between 2004 and 2007,which has enabled the renovation of the laboratory of the Directorate General the national Museum was partner of the Qantara project «Traversées d’Orientof Antiquities, and the one from the Fondation Nationale du Patrimoine, et d’Occident» (euromed heritage iii).which has supported the rehabilitation of the national Museum with a new The project «Foundations for a Strong Future» (Mercy Corps) began in 2008museography. This latter was heavily damaged during the Lebanese civil war, and has enabled young Lebanese and Jordanians (project partners) to discoverand it was reopened to the public in 1999. their cultural and archaeological heritage. The project is important for the national Museum because the final product is a genuine working tool forWhat are the major difficulties you face in managing the museum? visitors, especially the youth, and allows them to explore the collections onFinancial ones, but this is pretty common for most other museums around display. in addition to the multi-media installation that includes a virtual tourthe world. of the museum, several activities should bring forward a new approach that is more fun and should enable visitors to watch and discover the museum.What is its position at international level? Do you maintain relationshipswith other major museums (in the region? in the world?) What are your plans for the development of the museum in the future?i believe that the national Museum of Beirut has nothing to envy other We have many projects in mind...museums... because of the importance of its archaeological collections, the First, to work on the full opening of the permanent exhibition space so thatvalue of the exhibited works, the majesty of the building, the presentation of the three floors of the national Museum are available to the public, withits artifacts and its exceptional museography. permanent exceptional and representative collections of the ArchaeologicalPartnerships with other museums are forged at the time of common heritage of Lebanon.temporary exhibitions. Also, to develop activities to attract a growing number of visitors, including young ones for educational purposes, as well as making the national MuseumBeyond the permanent collection, do you organise temporary exhibitions? a place of discovery and dialogue.How are they funded? And to work in order to spread awareness of our rich culture, at regional andThe national Museum is not completely open, except for the ground floor international levels, especially through exhibitions Iand first floor, the basement is still closed to the public. A study is underwayto design the museography dedicated to the funerary art. eventually, Listenread phoneticallytemporary exhibitions could be organised in the future, even if the main Dictionary - View detailed dictionary
  • 9. A PERSPECTIVE ON CULTURAL HERITAGE DAMASCUS, SYRIA C-GRAZ 2010euromed Heritage: exhibitions, both physical and virtual, The euromed heritage programme hasmuseums, databases/websites and inventories were developed and behind their development straddled the turn of the millennium when communication technologies werereal and virtual spaces lay multifarious issues that had to be addressed through the respective not what they are today, and it opened up new possibilities to present objects,By ChriSTiAne DABDOUB nASSer , TeAM LeADer, projects including research, training, monuments and sites on the internet andreGiOnAL MOniTOrinG AnD SUPPOrT UniT (rMSU) design, and curating. to attract interest in Mediterranean culture for new target groups. Moreover, in Phase i of the programme, a whole and as the preceding examplesit is generally established that new project -Museomed - iCOM Athens- was demonstrate, much of what was digitisedtechnologies have transformed the way dedicated to training in modern museum served the development of realmuseums operate and democratised technology and management, with exhibitions, itineraries for culturalfurther the ‘consumption’ of museums, special emphasis on how museums tourism, publications, films, and so on,and we are light years away from the could be turned into a focus and catalyst moving virtuality into reality Inineteenth century when museums, for cultural experiences, and what kindponderous and monumental spaces, of technical knowhow curators muststarted proliferating for the benefit of the command if they are to exploit theselect few. Technology supports many potential of new approaches to display MANUMED, ISTANBOUL, TURKEY - C. GRAZ 2010museum administration functions and interpretation. But the bulk of theincluding facilities management, event training and accomplishments in theplanning, and ticketing; marketing, donor various projects and the subsequentrelations and fundraising; publishing; and phases were iT related: the creation ofinformation technology. They have also inventories, of virtual archives andinfluenced the way collections are exhibitions, and of online transversalmanaged and many museums have built data bases using a whole range ofdatabases to facilitate access to their multimedia supports (pictures, videos,collections amongst researchers, the texts, etc.).public, and other museums.in a very modest sort of way, euromed Two successive projects Islamic Art in theheritage has been part of this trend from Mediterranean www.museumwnf.org (ehthe very beginning. phase 1) and Discover Islamic Art www.discoverislamicart.org (eh phase 3) MUSÉE HISTORIQUE NATIONAL, BERLIN, GERMANY - C. GRAZ 2010Since its inception in 1998, euromed are perfect examples of the infiniteheritage has contributed to museum possibilities information technology anddevelopment within the larger context of creativity furnish. Adopting a newcultural heritage development and within exhibition format developed by Museumsa non-elitist educational and social With no Frontiers (MWnF), wherebyperspective, thereby inscribing itself works of art remain in situ within theirwithin a burgeoning trend where natural environment, has enabled thesemuseums were re-thought as spaces of projects to present the Mediterranean asinteraction and social integration. The a unique open air museum on islamic arthandling of the museal theme within the and to display – within nine thematicprogramme reflects the new role exhibitions – more than 1,000museums were assuming within monuments and archaeological sites fromcommunities. Some of the approaches the Umayyad period up to the beginningadopted through the programme were of the Ottoman empire in egypt, italy,exploratory and experiential, paving the Jordan, Morocco, Palestine, Portugal,way for further development, but one of Spain, Tunisia and Turkey. To date,its achievements was its focus on the use thematic itineraries under the titleof information technology which, at the Discover islamic Art in the Mediterraneantime, was in its nascent stages. Museums, are being sold online.
  • 10. CONNECTING - ISSUE N°7 - MARCH 2011 BEST PICTURESGIACOMO E LA PAPAMOBILE, ITALIA - J. CLAIR FABRICATION ARTISANALE DE SAVON À L’HUILE D’OLIVE, LEBANON - G. HADDADPROCESSION DU PANIER, MARSEILLE, FRANCE - F. SEGURAN (MENTION SPÉCIALE DU JURY) DOWNTOWN, EGYPT - NOUR EL-REFAI (LAURÉAT)BELONGING TO THE PAST, TERRITOIRES PALESTINIENS - EYAD JADALLAH (MENTION SPÉCIALE DU JURY) LA TRANSE DU ARRIF, TUNISIA - A. LE GALL (MENTION SPÉCIALE DU JURY)These pictures are an array of the best images collected within the euromed heritage programme to show the richness of the Mediterranean culturalheritage. The rMSU and rehabiMed Association have launched on 3 May 2010 a Photography Award contributing to awareness-raising of culturalheritage in the region. The awarded photos are published on this section as well as on the eh 4 website Photo Gallery: http://www.euromedheritage.net/intern.cfm?menuID=88
  • 11. CONNECTING - ISSUE N°7 - MARCH 2011 MISCELLANEOUS Our selected quotation Our agenda «For me, museums are places where the works of the past have turned into myths; they sleep RMSU events there until the artists call them back to real existence.» André Malraux G 15-28 February 2011 - Barcelona, Spain Crossing viewpoints: Living heritage in the Mediterranean – Photographs exhibition What’s on http://www.euromedheritage.net/intern.cfm?menuID=16&submenuID=23&subsubmenuID=16 international heritage Show 2010: the celebration of the Mediterranean heritage (Paris, France, 4-7 november 2010) international events The international heritage show in Paris has henceforth become an event in the agenda of european heritage that should not be missed. it is both a showcase for business excellence, places and G 21-25 February 2011 - rabat, Morocco heritage sites, as well as a preferred meeting place of both businesses and the public who are Policies for cultural heritage: 6th training interested in heritage. in 15 years, the fair has attracted about 280,000 visitors and more than 3,600 module of Mutual heritage project exhibitors. it has also hosted 368 conferences on important issues related to heritage. This intense www.mutualheritage.net activity, which combines culture with economy, contributes to the economic development of G 14-16 March 2011 - Amman, Jordan companies working in the field as well as to the Conservation of Architecture, Urban Areas, dissemination of the latest scientific assets among nature, and Landscape: Towards a professionals. Last but not least, it aims to raise awareness Sustainable Survival of Cultural Landscape among the general public in terms of heritage. The theme http://www.csaar-center.org/conference/2011/ of the 2010 show is «the Mediterranean heritage»; the show goes straight to the heart of the current political, G 19-26 March 2011 - Fez, Morocco economic and cultural dynamic around the Mediterranean. hammam Days and exhibition – «The Mediterranean basin is a cultural resource of hammamed project exceptional variety and an inexhaustible reservoir of talent http://www.hammamed.net/index.html and know-how. This show intends to celebrate this thousand-year-old heritage, thanks to the presence of G 30 March-02 April 2011 - Ferrara, italy exhibitors that work for its protection and conservation, a series of conferences led by specialists XViii Salone dell’Arte del restauro e della and the presentation of exhibitions. All this will also help to address the many issues and present Conservazione dei Beni Culturali e the achievements related to Mediterranean heritage» says Mr. Serge nicole, president of the show. Ambientali http://www.salonedelrestauro.com/en/ For more information: http://www.patrimoineculturel.com/ G 06-08 April 2011 - Dubrovnik, Croatia energy Management in Cultural heritage Reader’s corner http://www.ee.undp.hr/index.php?option=com_content&view=article&id=441&Itemid=348 G 11-14 April 2011 - Malta Discover islamic Art in the Mediterranean. MWnF Virtual Museum Books, 2009 Transnational Meeting – Mare nostrum The great islamic Dynasties of the Mediterranean are the protagonists of this book, together with project their fascinating artistic and cultural legacy. Thirty-nine scholars, museum curators and experts in http://www.hammamed.net/index.html cultural heritage, from 14 countries in europe, north Africa and the Middle east, are the authors of the 22 chapters that take the reader through 13 G 13-15 April 2011 - Florence, italy centuries of islamic history from the period of the Prophet 10th international Conference on non- Muhammad up until the end of the Ottoman empire destructive investigations and microanalysis (1922). Discover Islamic Art in the Mediterranean is a for the diagnostics and conservation of collaborative work that was written for all those who share cultural and environmental heritage our idea that there is not only one history, but that at least http://www.aipnd.it/art2011/ as many histories as peoples exist. This Book is published to complement the www.discoverislamicart.org Virtual Museum and its cycle of 18 Virtual exhibitions Discover Islamic Art in the Mediterranean. MWnF – Musée Sans Frontières / Museum With no Frontiers: http://www.mwnfbooks.net/books_detail.php?booklngid=33;en&GRAPHIC DESIGN : MARTINE LAMBERT I Euromed Heritage 4 Connecting - a quarterly publication of the RMSU for the Euromed Heritage 4 programme The RMSU Team: Christiane Dabdoub Nasser, Team Leader - Christophe Graz, Project Manager - George Zouain, Project Manager - Jean-Louis Luxen, Senior Legal Expert Giuliano Salis, Communication Expert - Giulia Bertelletti, Event Manager - Dario Berardi, IT Expert Join our mailing-list to receive Euromed Heritage 4 Connecting at http://www.euromedheritage.net I RMSU Euromed Heritage 4 Programme rue d’Egmont, 15 B-1000 Brussels t. +32 (0)2 609 55 50 - f. +32 (0)2 511 63 11 info@euromedheritage.net http://www.euromedheritage.net